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A comprehensive survey of the distinctly British version of Impressionism.
Uncovers the link between Ruskin and the tradition of the aesthetics of spaceDiscusses a hitherto under-researched tradition of city-writing, linking Ruskin to modernismReads comparatively five important mid to late nineteenth-century writersMarries close textual analysis with historically and geographically informed contextFills a gap in the critical literature on city-writing between realism and early modernismCharting an 'aesthetic', post-realist tradition of writing, this book considers the significant role played by John Ruskin's art criticism in later writing which dealt with the new kinds of spaces encountered in the nineteenth-century. With chapters devoted to the ways in which aesthetic and decadent writers such as Walter Pater and Oscar Wilde built upon and challenged Ruskin's ideas, the book links the late Dickens to the early modernism of Henry James. The Aesthetics of Space in Nineteenth-Century British Literature gives a vibrant vision of what an aesthetically sensitive treatment of these spaces looked like during the period.
This book is a wide-ranging exploration of the production of Victorian art autograph replicas, a painting’s subsequent versions created by the same artist who painted the first version. Autograph replicas were considered originals, not copies, and were highly valued by collectors in Britain, America, Japan, Australia, and South Africa. Motivated by complex combinations of aesthetic and commercial interests, replicas generated a global, and especially transatlantic, market between the 1870s and the 1940s, and almost all collected replicas were eventually donated to US public museums, giving replicas authority in matters of public taste and museums’ modern cultural roles. This book will be of interest to scholars in art history, museum studies, and economic history.
This volume tells the story of Picasso's artistic development and his passionate relationship with the European art tradition.
Some films are remembered long after they are released; others are soon forgotten, but do they deserve oblivion? Are factors other than quality involved? This book exhumes some of the films released in Britain over the last seventy years from Daybreak (1948) to 16 Years of Alcohol (2003), and considers the reasons for their neglect. As well as exploring the contributions of those involved in making the films, the book examines such issues as marketing and the response of critics and audiences. Films are grouped loosely into categories such as “B” films and television films. Some works were little seen when they were first released and have stayed that way; others were popular in their day, but have slipped into obscurity. In some cases, social change has overtaken them, making the attitudes or subjects they depict seem dated. Even being released as a DVD does not guarantee that a title will be rehabilitated. In addition, how significant is the American market? This book should appeal to lovers of British film, as well as to film studies students and everybody curious about the vagaries of success and failure in the arts.
The examples convey not only these major themes but also the painters' belief in the progress of civilization through science and industry. The book thus expands the scope of Impressionist celebrations of modernity to include what might be called Impressionism's "other landscape" and proposes that in the Impressionists' effort to forge a modern landscape art, those signs of modernity defined their vision most clearly."--BOOK JACKET.
This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.
British Modernism and the Anthropocene: Experiments with Time assesses the environmental politics of modernism in relation to the idea of the Anthropocene--a proposed geological epoch in which humans have fundamentally changed the Earth System. The early twentieth century was marked by environmental transformations that were so complex and happened on such great scales that they defied representation. Modernist novelists responded with a range of innovative narrative forms that started to make environmental crisis on a planetary scale visible. Paradoxically, however, it is their failures to represent such a crisis that achieve the greatest success. David Shackleton explores how British modernists employed types of narrative breakdown--including fragmentation and faltering passages devoid of events--to expose the limitations of human schemes of meaning, negotiate the relationship between different scales and types of time, produce knowledge of ecological risk, and register various forms of non-human agency. Situating modernism in the context of fossil fuel energy systems, plantation monocultures, climate change, and species extinctions, Shackleton traces how H.G. Wells, D.H. Lawrence, Olive Moore, Virginia Woolf, and Jean Rhys undertook experiments with time in their novels that refigure history and the historical situations into which they were thrown. Ultimately, British Modernism and the Anthropocene shows how modernist novels provide rich resources for rethinking the current environmental crisis, and cultivating new structures of environmental care and concern.